Cover image for The painted sketch : American impressions from nature, 1830-1880
The painted sketch : American impressions from nature, 1830-1880
Harvey, Eleanor Jones.
Personal Author:
Publication Information:
[Dallas, Tex.] : Dallas Museum of Art in association with H.N. Abrams, [1998]

Physical Description:
299 pages : illustrations (some color) ; 32 cm
General Note:
Catalog of an exhibition held at the Dallas Museum of Art, June 21-Sept. 20, 1998, the Corcoran Gallery of Art, Washington, D.C., Oct. 11, 1998-Jan. 10, 1999, and the Sterling and Francine Clark Art Institute, Williamstown, Mass., Feb. 6-May 9, 1999.

Format :


Call Number
Material Type
Home Location
Item Holds
ND1351.5 .H27 1998 Adult Non-Fiction Non-Fiction Area-Oversize

On Order



In 19th-century America the landscape oil sketch emerged as a finished work of art, worthy of exhibition and sale. This work concentrates on such leading landscape painters as Frederic Church, Albert Bierstadt, and Thomas Cole. The author offers a fresh interpretation of the smaller, more immediate oil sketch as both a marketing tool for the resulting large studio painting and an artistic genre. Featuring colour reproductions and archival photographs, the work follows great artists on their travels to sketch grand landscapes, and charts public interest in both the artists' journeys and the sketches.

Reviews 1

Choice Review

Landscape painting was among the most significant forms of artistic expression in the 19th century, and the finished paintings and accomplishments of the painters of the Hudson River school have been frequently examined. Less attention has been paid to the oil sketches that were usually prepared by the artists in the field and that became the basis for their finished works. Harvey's lavishly illustrated, handsomely printed work, prepared to accompany an exhibition on this theme at the Dallas Museum of Art, provides a provocative interpretation of the importance of sketches in the work of eight of the leading painters of the Hudson River school. Particular attention is given to the importance of the sketches of Albert Bierstadt, Frederic Edwin Church, Thomas Cole, Asher B. Durand, Sanford Robinson Gifford, and John Frederick Kensett. Though Harvey's primary theme is to delineate the acceptance of these small sketches as works of art and their contribution to the rise of tonalism and impressionism in America, she also offers a perceptive introduction to 19th-century American landscape paintings. The carefully selected plates, in both black and white and color, complement the carefully reasoned interpretations of the sketches in the development of American landscape painting and art. All levels. P. D. Thomas; Wichita State University